The Sounds of the Season by Various. Arranged by David Marlatt. For 2 Alto Saxophones and Keyboard. Renaissance, Christmas. Medium. Published by Eighth Note Publications (EP.SS2616).
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ISBN 9781554729593. Renaissance, Christmas.
This is a collection of fresh, new arrangements of well-loved Christmas music set for 2 like-instruments and piano. A number of styles and moods are represented in these eight pieces. They are suitable for a variety of performance situations such as school concerts, at church or on Christmas gigs in a community. Pieces included are Joy to the World, I Saw Three Ships, Silent Night, We Three Kings, Pat-a-Pan, Gesu Bambino, O Come, O Come Emanuel and Ye Merry Gents.

Fantasy Triptych by Derek Bourgeois (1941-). For Concert Band (Piccolo, Flute 1, Flute 2, Oboe 1/2, Eb Clarinet, Bb Clarinet 1, Bb Clarinet 2, Bb Clarinet 3, Eb Alto Clarinet, Bb Bass Clarinet, Bassoon 1/2, Alto Saxophone 1/2, Tenor Saxophone, Baritone Saxophone, Bb Cornet 1, Bb Cornet 2/3, Bb Trumpet 1/2, Horn in F ). Band Music. Grade 5.5. Score only. Duration 17:40. Published by C. Alan Publications (CN.S11193).
In 1972, I wrote a Sonata for Two Pianos for two friends who were piano teachers at Wellington College. When in 1995 I was asked to write a work for wind band, I returned to this Sonata and have re-arranged and in the new version renamed it "Fantasy Triptych."There are three movements:1. Le Tombeau d'Arthur BenjaminRavel wrote 'Le Tombeau de Couperin,' Arthur Benjamin wrote 'Le Tombeau de Ravel' and so the temptation to write 'Le Tombeau d'Arthur Benjamin' was overwhelming. At the end of the movement there is an oblique reference to Benjamin's own 'Jamaican Rumba' which accompanies a quote from an old Spanish folk song 'Loro, enciende el hervidor de agua.'2. Mr. Bolt goes for a ride in his motor car, and Monsieur Ravel turns in his grave.The movement is dedicated to an old friend, Geoffrey Bolt, who adores the music of Ravel. but at the time of writing was learning to drive. He always described his vehicle as a motor car. To describe him as an impatient motorist would be a gross understatement. The refined suavity of Ravel's music was in complete contrast to these early manifestations of road rage, hence the central angry outburst.3. The War March of the OstrichesThe music of Charles Ives was fascinating me at the time of writing this movement and some of the influence has rubbed off in this rondo-like march. At the end there is a quote from the very beginning of the first movement. The title was inspired by the amusing antics of a group of ostriches during a visit to Bristol Zoo.

Fantasy Triptych by Derek Bourgeois (1941-). For Concert Band (Piccolo, Flute 1, Flute 2, Oboe 1/2, Eb Clarinet, Bb Clarinet 1, Bb Clarinet 2, Bb Clarinet 3, Eb Alto Clarinet, Bb Bass Clarinet, Bassoon 1/2, Alto Saxophone 1/2, Tenor Saxophone, Baritone Saxophone, Bb Cornet 1, Bb Cornet 2/3, Bb Trumpet 1/2, Horn in F ). Band Music. Grade 5.5. Score and parts. Duration 17:40. Published by C. Alan Publications (CN.R10193).
In 1972, I wrote a Sonata for Two Pianos for two friends who were piano teachers at Wellington College. When in 1995 I was asked to write a work for wind band, I returned to this Sonata and have re-arranged and in the new version renamed it "Fantasy Triptych."There are three movements:1. Le Tombeau d'Arthur BenjaminRavel wrote 'Le Tombeau de Couperin,' Arthur Benjamin wrote 'Le Tombeau de Ravel' and so the temptation to write 'Le Tombeau d'Arthur Benjamin' was overwhelming. At the end of the movement there is an oblique reference to Benjamin's own 'Jamaican Rumba' which accompanies a quote from an old Spanish folk song 'Loro, enciende el hervidor de agua.'2. Mr. Bolt goes for a ride in his motor car, and Monsieur Ravel turns in his grave.The movement is dedicated to an old friend, Geoffrey Bolt, who adores the music of Ravel. but at the time of writing was learning to drive. He always described his vehicle as a motor car. To describe him as an impatient motorist would be a gross understatement. The refined suavity of Ravel's music was in complete contrast to these early manifestations of road rage, hence the central angry outburst.3. The War March of the OstrichesThe music of Charles Ives was fascinating me at the time of writing this movement and some of the influence has rubbed off in this rondo-like march. At the end there is a quote from the very beginning of the first movement. The title was inspired by the amusing antics of a group of ostriches during a visit to Bristol Zoo.

Sinfonia Caroliniana by Walter Hartley (1927-). For Concert Band (Piccolo, Flute 1, Flute 2, Oboe 1/2, Bassoon 1/2, Bb Clarinet 1, Bb Clarinet 2, Bb Clarinet 3, Bass Clarinet, Alto Saxophone 1/2, Tenor Saxophone, Baritone Saxophone, Bb Trumpet 1, Bb Trumpet 2, Bb Trumpet 3, Horn 1/2, Horn 3/4, Trombone 1/2, Trombone 3, ). Band Music. Grade 5. Score only. Duration 8:00. Published by C. Alan Publications (CN.14101).
Sinfonia Caroliniana is the sixteenth of Hartley's works to use "sinfonia" in its title and the sixth of these for symphonic wind ensemble (including Sinfonia I, IV, IX, and XIV). The second word refers to the excellent musicians of the University of North Carolina at Charlotte Symphonic Wind Ensemble, and their director, Dr. Laurence L. Marks, for whom the work was written, to whom it is dedicated, and who premiered it on February 25, 2006 at the Southern Division Conference of the College Band Directors National Association. The title also reflects the composer's delight "in the welcoming spirit my wife and I have encountered since moving to North Carolina in 2004." Some of the melodic material in the piece is based on the pentatonic scale typically found in Southern hymnody, which has inspired some of his other recent compositions. "As with most of my other Sinfonias, this one is a short and compact symphony structured in three movements, fast-slow-fast, as were the early 18th-century Italian opera overtures called "sinfonias." Like them, this piece is tonally centered (E-flat - C - E-flat) but uses current harmonic spectrums.

Sinfonia Caroliniana by Walter Hartley (1927-). For Concert Band (Piccolo, Flute 1, Flute 2, Oboe 1/2, Bassoon 1/2, Bb Clarinet 1, Bb Clarinet 2, Bb Clarinet 3, Bass Clarinet, Alto Saxophone 1/2, Tenor Saxophone, Baritone Saxophone, Bb Trumpet 1, Bb Trumpet 2, Bb Trumpet 3, Horn 1/2, Horn 3/4, Trombone 1/2, Trombone 3, ). Band Music. Grade 5. Score and parts. Duration 8:00. Published by C. Alan Publications (CN.14100).
Sinfonia Caroliniana is the sixteenth of Hartley's works to use "sinfonia" in its title and the sixth of these for symphonic wind ensemble (including Sinfonia I, IV, IX, and XIV). The second word refers to the excellent musicians of the University of North Carolina at Charlotte Symphonic Wind Ensemble, and their director, Dr. Laurence L. Marks, for whom the work was written, to whom it is dedicated, and who premiered it on February 25, 2006 at the Southern Division Conference of the College Band Directors National Association. The title also reflects the composer's delight "in the welcoming spirit my wife and I have encountered since moving to North Carolina in 2004." Some of the melodic material in the piece is based on the pentatonic scale typically found in Southern hymnody, which has inspired some of his other recent compositions. "As with most of my other Sinfonias, this one is a short and compact symphony structured in three movements, fast-slow-fast, as were the early 18th-century Italian opera overtures called "sinfonias." Like them, this piece is tonally centered (E-flat - C - E-flat) but uses current harmonic spectrums.

Concerto No. 1 in D Minor for Marimba. (Marimba Feature). By Noah D. Taylor. For Soloist(s) with Concert Band (Piccolo, Flute 1, Flute 2, Oboe 1, Oboe 2, Eb Clarinet, Bb Clarinet 1, Bb Clarinet 2, Bb Clarinet 3, Bb Bass Clarinet, Bassoon 1, Bassoon 2, Alto Saxophone 1, Alto Saxophone 2, Tenor Saxophone, Baritone Saxophone, Bb Trumpet 1, Bb Trumpet 2, Bb Trumpet 3,). Percussion Music. Grade 5. Score only. Duration 30:00:00. Published by C. Alan Publications (CN.10924).
The Marimba Concerto No. 1 in D Minor was completed in August 2003. This concerto was composed for marimbist Brenton Dunnington and was Taylor's first work for a solo mallet-percussion instrument. Taylor's Concerto displays confident youth as the composer ambitiously recalls the Romanticism of the past. The work is a large-scale undertaking for the soloist and the orchestra. Taylor has truly constructed a solo part of transcendental technique and virtuosity. The Concerto is tangible and tuneful, visually captivating and memorable from the first encounter.The first movement employs late 19th century harmony blended with Taylor's personal aesthetics. The full and rich orchestration is most evident here. The movement also displays the endurance and facility of the soloist. The opening fanfare and romantic theme form the basis for shaping the movement. Taylor thoroughly develops the theme in a romantically expanded sonata form. The solo cadenza (with improvisational intent) emerges from the end of the development and drives on to explore the theme. It demands intricate, complete command of the marimba and fearless composure from the soloist to accomplish the aggressively fluctuating tempi, the broad dynamic spectrum, and perilous octave descents. After a brief adagio, the first movement reaches an exhilarating orchestral conclusion.The slow second movement, still rooted in romanticism, slips in and out of 20th century harmonies. The movement is a tale of love and passion. Titled Adagio, the movement, opening in C major, is monothematic, but for a brief recapitulation of the first movement's main theme. The movement's poignant melody is carried by each of the oboe, clarinet, and flute solos with marimba. There is a tender, recurring duo between solo marimba and harp followed by a dramatic, climactic chorale where the soloist employs six-mallet technique. The movement culminates in a vivid new statement of the movement's main melody and fades off into the distance.A thematic transformation develops several stages further in the third movement. The Finale is a hero's tale of battle, danger, love, and triumph. Each section evokes a different account on the journey. Taylor reemphasizes the D minor tonality of the opening movement. The third movement bursts into the exhilarating and vigorous first subject, which features a thrilling rhythmic motif and interchange between the soloist and orchestra. The tale moves through a central, lyrical episode in place of a development section. Again, earlier material is recalled. As the final Vivace builds to a climax, the soloist unleashes fiery virtuosity with the orchestra. The majestic recapitulation, now in D major, surveys all of the Finale's opening material concluded by the coda in a brilliant presto and fortissimo.

Concerto No. 2 for Marimba & Wind Ensemble. (Marimba Feature). By David Gillingham. For Soloist(s) with Concert Band (Piccolo, Flute 1/2, Oboe 1/2 , Bassoon 1/2, Clarinet in Bb 1/2, Clarinet in Bb 3, Bass Clarinet, Alto Saxophone 1/2, Tenor Saxophone, Baritone Saxophone, Trumpet in Bb 1, Trumpet in Bb 2/3, Horn in F 1/3, Horn in F 2/4, Trombone 1/2, Bass Trombone, Euphon). Band Music. Grade 4. Score only. Duration 23:00. Published by C. Alan Publications (CN.11851).
The Concerto No. 2 for Marimba is a commission by a consortium of schools and performers headed by Professor Marc Wooldridge of Northwestern College, Orange City, Iowa.The work exploits the full range of the technical and expressive ability of the five-octave concert grand marimba. It is cast in the standard three-movement format. The first movement uses sonata-rondo form and begins with a slow introduction and quasi-cadenza by the marimba. An animated first theme follows in G-minor accompanied by clarinets and tambourine. A contrasting second theme area follows featuring chromatic mediant progressions and descending chromatic lines. The return of the first theme utilizes a slightly different accompaniment. The development section reworks all the thematic material in different guises. The recapitulation presents the first theme, verbatim, as it was in the exposition. The second theme, however, changes the mode to major. The return alternates the marimba on the theme with the winds playing the theme in augmentation. The marimba quietly ends the movement with an ascending and descending arpeggiated passage.The second movement is a chaconne with eight variations. The marimba states a rather haunting chorale-like melody in Bb minor. The first variation features the low brass on the chaconne theme with the marimba on the variation. Variation II uses marimba, clarinet, bells, and vibraphone and Variation III uses marimba, oboe, and horns. Cascading muted brass against the augmented chaconne theme in the flutes and clarinets are indicative of Variation IV. Variation V changes the slow pace to fast using marimba, brass, timpani, and bells. A haunting Variation VI utilizes bowed marimba on the chaconne theme accompanied by piano and bells. Variation VII features the low brass on the chaconne theme against triplets in the upper brass. Rolled arpeggiated chords highlight Variation VIII along with a solo alto saxophone on the second half of the variation. A somber coda brings the movement to a close.The third movement, like the first, is in sonata-rondo design and is cyclic, bringing back and combining the thematic material of the first and second movements. The first theme, in D-minor, is angular and spirited, accompanied by clarinets and tambourine (reminiscent of Mvt. I). The second theme brings back the second theme of the first movement followed by the return of the first theme, now accompanied by saxophones and tambourine. The development combines and works thematic material from all three movements of the concerto. The recapitulation begins with the bassoons on the first theme, followed by the horns/trumpets and finally, the marimba. The second theme brings back the chaconne of the second movement, this time in major with the marimba accompanying using rhythmic material taken from the first theme of the third movement. There is no formal return of the first theme. Instead, the marimba plays a cadenza in which the first theme material and the second movement chaconne are developed. A galloping presto (coda) follows, ending the movement in D major.- David R. Gillingham.

Concerto No. 2 for Marimba & Wind Ensemble. (Marimba Feature). By David Gillingham. For Soloist(s) with Concert Band (Piccolo, Flute 1/2, Oboe 1/2 , Bassoon 1/2, Clarinet in Bb 1/2, Clarinet in Bb 3, Bass Clarinet, Alto Saxophone 1/2, Tenor Saxophone, Baritone Saxophone, Trumpet in Bb 1, Trumpet in Bb 2/3, Horn in F 1/3, Horn in F 2/4, Trombone 1/2, Bass Trombone, Euphon). Band Music. Grade 5. Score and parts. Duration 23:00. Published by C. Alan Publications (CN.11850).
The Concerto No. 2 for Marimba is a commission by a consortium of schools and performers headed by Professor Marc Wooldridge of Northwestern College, Orange City, Iowa.The work exploits the full range of the technical and expressive ability of the five-octave concert grand marimba. It is cast in the standard three-movement format. The first movement uses sonata-rondo form and begins with a slow introduction and quasi-cadenza by the marimba. An animated first theme follows in G-minor accompanied by clarinets and tambourine. A contrasting second theme area follows featuring chromatic mediant progressions and descending chromatic lines. The return of the first theme utilizes a slightly different accompaniment. The development section reworks all the thematic material in different guises. The recapitulation presents the first theme, verbatim, as it was in the exposition. The second theme, however, changes the mode to major. The return alternates the marimba on the theme with the winds playing the theme in augmentation. The marimba quietly ends the movement with an ascending and descending arpeggiated passage.The second movement is a chaconne with eight variations. The marimba states a rather haunting chorale-like melody in Bb minor. The first variation features the low brass on the chaconne theme with the marimba on the variation. Variation II uses marimba, clarinet, bells, and vibraphone and Variation III uses marimba, oboe, and horns. Cascading muted brass against the augmented chaconne theme in the flutes and clarinets are indicative of Variation IV. Variation V changes the slow pace to fast using marimba, brass, timpani, and bells. A haunting Variation VI utilizes bowed marimba on the chaconne theme accompanied by piano and bells. Variation VII features the low brass on the chaconne theme against triplets in the upper brass. Rolled arpeggiated chords highlight Variation VIII along with a solo alto saxophone on the second half of the variation. A somber coda brings the movement to a close.The third movement, like the first, is in sonata-rondo design and is cyclic, bringing back and combining the thematic material of the first and second movements. The first theme, in D-minor, is angular and spirited, accompanied by clarinets and tambourine (reminiscent of Mvt. I). The second theme brings back the second theme of the first movement followed by the return of the first theme, now accompanied by saxophones and tambourine. The development combines and works thematic material from all three movements of the concerto. The recapitulation begins with the bassoons on the first theme, followed by the horns/trumpets and finally, the marimba. The second theme brings back the chaconne of the second movement, this time in major with the marimba accompanying using rhythmic material taken from the first theme of the third movement. There is no formal return of the first theme. Instead, the marimba plays a cadenza in which the first theme material and the second movement chaconne are developed. A galloping presto (coda) follows, ending the movement in D major.- David R. Gillingham.

Michigama Suite by Catherine McMichael. Chamber Ensemble. For Alto Saxophone & Piano (soprano saxophone, alto saxophone, piano). Chamber Music. Medium. Set of parts. Duration 4:30. Published by C. Alan Publications (CN.11700).
What if, on the night of a barn dance, the fiddle player got sick and couldn't make it? What if only a euphonium player were available to fill in? A spirited work which requires a little singing, whistling, kazoo playing, and even audience participation. You'll have fun with this one!